音谋家

他不在场2 - [朝音夕拾]

上回说的是电影，这回要说说这电影的原声唱片。

这张所谓的原声其实是一张独立乐队、歌手们打着“原声”的名义向迪伦致敬的翻唱专辑。

Sonic Youth、Cat Power、Jack Johnson、Yo La Tango、Charlotte Gainsbourg、Antony & The Johnsons以及我的女神Karen O。瞧瞧这些名字，用屁股都能想得出这张专辑有多牛逼！

翻唱迪伦的歌绝对是一件吃力不讨好的事，他老人家是乐坛最后的神，是六十年代硕果仅存的传奇，他要是搁中国收徒弟，那排场指定把赵教主给比下去。

所以，要想比迪伦唱得更好，基本上是不可能。我听过的版本里唯一让我觉得比原版更有感觉的只有Tracy Chapman唱的《The Times They Are A-Changin'》

不过，唱得像原版一样，这本来就是“翻唱”的大忌。“翻唱”的最高境界是在翻出自己风格的同时又不破坏原版的韵味，从这点来说，这张专辑里的歌手都做得不错。

我们听到了各种各样的迪伦。Sonic Youth的噪音版、Yo La Tango的独立版、Karen O的尖叫版、Jack Johson的沙滩版、Charlotte Gainsbourg的法兰西孤芳版、Willie Nelson & Calexico的歌剧版……

最让我听得不可自拔的还要数Antony & The Johnsons唱的《Knockin' On Heaven's Door》，唱得那个肝肠寸断哟。

       耳东

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试听：

[Just Like a Woman] Charlotte Gainsbourg & Calexico
[Knockin' On Heaven's Door] Antony & The Johnsons

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下载（Full Album）

Fs2You

纳米盘

Disk1

Disk2

解压密码：迪伦、汤姆·佩蒂以及乔治·哈里森等腕儿合组的那支超级乐队的名字（全小写，不空格）

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他不在场 - [知道/Message]

我不在场

六个迪伦

这片拍得妙极了！

导演放弃了传记片拍摄的标准模式（比如雷·查尔斯的传记片《雷》），用六个不同的人物穿插起来讲述迪伦的故事。

装模作样的黑人小孩，女扮男装的瘾君子，隐居山林的老通缉犯，风流成性的艺术家，皈依基督的叛逆巨星，中间穿插着出现一个不修边幅的自白者，这六个人看起来相互间并没有什么共同性，但是，假如你了解迪伦，你很快就会明白，这其实就是迪伦在不同历史阶段表现出来的不同面目。

Woody Guthrie和他的涂鸦吉他

就拿那个装蛋的黑人小孩来说吧，他把自己幻想成四处流浪的民谣歌手，他总是唱一些二三十年代的老民歌，他给自己起名叫伍迪·格思里，还在吉他箱子上写了“吉他杀死法西斯”（历史上的伍迪·格思里在自己吉他上的涂鸦），这不正是迪伦成名前的真实写照吗？在迪伦殷实的中产阶级家族身份被揭穿以前，他曾经声称自己是一个四处流浪的孤儿，就差没说自己是伍迪的私生子了。

真假迪伦（右图为女王迪伦）

“女王”布兰切特反串的“瘾君子”迪伦是片中的重头戏，戏份多，细节描写也多。布兰切特的表现没让广大歌迷失望，她以九成神似的表演栩栩如生地再现了六十年代中期迪伦在名利和自我之间的挣扎。尤其是她那叼着香烟、耷拉着眼皮、一脸疲惫的貌似正“飞”着的神情叫人不得不拍案叫绝。

记得这一幕吗？

除此之外，这片里从头到尾全是各种各样的“符号”，迪伦符号和时代符号。画家女友搂着希斯·莱杰走过某条街道的画面是迪伦的成名专辑《The FreewheelIn' Bob Dylan》的封面的重现，布兰切特和四个瓜皮头少年闹成一团的情景说的当然是迪伦和披头士之间的事儿。（可是……那几个小披头士实在是太幼齿了，布兰切特像幼儿园阿姨……）还有克里斯蒂安·贝尔拍的那些经典的迪伦照，以及布兰切特在新英格兰音乐节演出前突然从吉他箱里掏出冲锋枪向人群扫射——新英格兰就是新港，冲锋枪就是电吉他。这样的处理非常高明，假如你不太清楚迪伦因为转摇滚而在新港演出上得罪了包括美国民谣之父皮特·西格在内的所有现场观众，“冲锋枪”的镜头可以帮你深刻理解迪伦对观众都做了什么以及他们后来为什么会那么愤怒。另外，让我猜一猜，电影里布兰切特扫射之后挥舞着大斧头气急败坏到处乱砍的难道就是皮特·西格？

扮演琼·贝兹（片里叫爱丽丝·法比安）的朱莉安·摩尔也给我留下了深刻的印象。摩尔大妈正儿八经煞有介事地在镜头前回忆迪伦往事的样儿让我不由自主地联想到波拉特·萨格耶维。而且，同样很搞的是，连音速青年乐队的酷阿姨金·戈登也跑出来以某传奇民谣女歌手的身份正襟危坐地接受了记者的“专访”。

迪伦

希斯迪伦

克里斯蒂安·贝尔的迪伦感觉很一般，远不如“女王”那么有神采，而且，还不如年轻的迪伦帅。希斯·莱杰呢，不像迪伦，像个落魄的小艺术家。理查·基尔的迪伦比较玄乎，带有那么点魔幻现实主义色彩，符号性最弱——也可能是对于大多数歌迷来说，老年迪伦的影子是最模糊的。

最后，我还想说，这片里演的最像的其实是演“垮掉派教主”艾伦·金斯堡的那位。

       耳东

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试听：

下面这首歌是影片的片头曲，出自专辑《Blonde On Blonde》，据说这首歌最能代表迪伦的人生观和世界观，另外，影片中铁路的戏、魔幻现实主义的戏、希斯·莱杰的画家女友的法国身份似乎也跟这首歌有关。

[Stuck Inside of Mobile with the Memphis Blues Again]

Aw, the ragman draws circles
Up and down the block. 
I'd ask him what the matter was
But I know that he don't talk.
And the ladies treat me kindly
And they furnish me with tape,
But deep inside my heart
I know I can't escape.
Oh, Mama, can this really be the end,
To be stuck inside of Mobile
With the Memphis blues again.

Well, Shakespeare, he's in the alley
With his pointed shoes and his bells,
Speaking to some French girl,
Who says she knows me well.
And I would send a message
To find out if she's talked,
But the post office has been stolen
And the mailbox is locked.
Oh, Mama, can this really be the end,
To be stuck inside of Mobile
With the Memphis blues again.

Mona tried to tell me
To stay away from the train line.
She said that all the railroad men
Just drink up your blood like wine.
An' I said, "Oh, I didn't know that,
But then again, there's only one I've met
An' he just smoked my eyelids
An' punched my cigarette."
Oh, Mama, can this really be the end,
To be stuck inside of Mobile
With the Memphis blues again.

Grandpa died last week
And now he's buried in the rocks,
But everybody still talks about
How badly they were shocked.
But me, I expected it to happen,
I knew he'd lost control
When he built a fire on Main Street
And shot it full of holes.
Oh, Mama, can this really be the end,
To be stuck inside of Mobile
With the Memphis blues again.

Now the senator came down here
Showing ev'ryone his gun,
Handing out free tickets
To the wedding of his son.
An' me, I nearly got busted
An' wouldn't it be my luck
To get caught without a ticket
And be discovered beneath a truck.
Aw, Mama, is this really the end,
To be stuck inside of Mobile
With the Memphis blues again.

Now the teen preacher looked so baffled
When I asked him why he dressed
With twenty pounds of headlights
Stapled to his chest.
But he cursed me when I proved to him,
Then I whispered,said "Not even you can hide.
You see, you're just like me,
I hope you're satisfied."
Oh, Mama, can this really be the end,
To be stuck inside of Mobile
With the Memphis blues again.

Now the rainman gave me two cures,
Then he said, "Jump right in."
The one was Texas medicine,
The other was just railroad gin.
An' like a fool I mixed them
An' it strangled up my mind,
An' now people just get uglier
An' I have no sense of time.
Oh, Mama, can this really be the end,
To be stuck inside of Mobile
With the Memphis blues again.

When Ruthie says come see her
In her honky-tonk lagoon,
Where I can watch her waltz for free
'Neath her Panamanian moon.
An' I say, "Aw come on now,
You know you know about my debutante."
An' she says, "Your debutante just knows what you need
But I know what you want."
Oh, Mama, can this really be the end,
To be stuck inside of Mobile
With the Memphis blues again.

Now the bricks lay on Grand Street
Where the neon madmen climb.
They all fall there so perfectly,
It all seems so well timed.
An' here I sit so patiently
Waiting to find out what price
You have to pay to get out of
Going through all these things twice.
Oh, Mama, is this really the end,
To be stuck here inside of Mobile
With the Memphis blues again.